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London: Phoenix House: Orion. Working with fables brings me to wonderfully strange experiences! I figured one of those was coming when I noticed that the cover photo of this page book shows a man in a straw hat vomiting. The back cover advises: "Store this classic collection of anti-wisdom in a zip-lock bag beneath your toilet. Read during your bowel movements.

Wipe with the pages. Refresh your copy frequently. They are anti-wisdom, sometimes surprising, sometimes perhaps angry. One man spends all sorts of energy building a house while another watches him and dreams. The house-builder scorns the other when the dreamer asks if he can stay with him. Two weeks later the dreamer finds the house-builder dead of a heart attack in his beautiful home. The dreamer buries him and moves into the house. Maybe closest to traditional fable is "Country Rooster, City Rooster" The story begins as a typical war movie with the City Rooster nobly and surprisingly saving the Country Rooster in the midst of a terrible battle in the Great War.

They became gay partners, visited the Country Rooster's family at home, and were scorned. They returned to the city "and they made love like only gay chickens can" Yes, these fables are broken! This book is largely identical with one published in by Publications International with the same title. It has these differences. This copy has "Reader's Digest Young Families" on its otherwise identical cover. The book thus concludes on 71, not 87, with only a "The End" page following. It does give credit on the verso of its title-page to Publications International, the publisher of the earlier book.

The latter also holds the copyright. Even the endpapers are identical. The tellings are lively and traditional. Full-page colored illustrations occur about every other page. Among the best illustrations are those showing Alistair, the city mouse, pulling the pillow over his ears in the early country morning. GA's grasshopper seems more interested in sleeping than in singing. He also steals food from the ants in summer. The ants promptly let the grasshopper in during the first snowfall, but they require that he work. His work is to sing for the ants, since winter is their time to play.

Next summer he sings "Summer work is slow and steady. But when winter comes, I'll be ready! Francesca Martin. Apparently third printing. Cambridge, MA: Candlewick Press. At Lake Nyasa in Africa, the elephant once came crashing among the other animals. That action roused the hippopotamus to show how strong he was, too. When the other animals gathered to ask what they could do, clever tortoise came up with an idea. He went to elephant and issued a challenge to a tug-of-war. Then he did the same with hippopotamus. That night the animals worked hard together to weave a strong rope. The next morning they went individually to the two and gave each an end of the rope.

Here one finds perhaps the best illustrations: two facing pages of three panels each. Martin playfully shows the intensifying and frustrated efforts of each beast. At noon, tortoise cut the rope with an axe. The elephant bumped his head, and the hippopotamus smacked her back in the water. That evening, the animals held a big party to celebrate clever tortoise. The illustrative work is affectionate and colorful in this landscape-formatted book. Roger R. Coleman, DC. Foreword by Ken Wolf. This is a privately published book of thirteen stories on pages.

The author is eager to show the partiality of scientists and doctors. In the first fable, ideas of wizards fight each other. Wizards here seem to become scientists. I read the first two offerings and did not find them to be fables. Coleman is a chiropractor. Then come the "technique wars": "The ill informed fought the unenlightened, watched by the uncaring" Science finally triumphs over technique.

Adapted by Mary Rowitz. Illustrated by Sharron O'Neil. Publications International, Ltd.. Each pair of pages presents one full page of text and one of colored illustration. The picture of the cow maid holding her mop at the farmhouse's half-door is too good to miss! A page at the end stops to reflect on cooperation in the light of the story. Katrien Bruyland. Illustraties van Patricia Ludlow. Except for the translations of the texts, the book seems identical. As I wrote there, this is a large-format book of thirty fables occurring two to each pair of pages.

Often one smaller fable is presented in a box inserted into the two-page illustration for a larger fable. The illustrations are colorful, splashy, dramatic, and up-to-date. Among my favorites in a book I am coming to like a great deal are both the stuck wagon and the old woman on ; BW on 12; the cat dressed up as a nurse on 14; CW on 25; and the old woman overseeing her early-rising maids on Ludlow shows a good gift for realism in depicting human beings. A panther is the attacker who interrupts the stag at the pool The chase in CW is wisely set in the garden rather than in the bedroom Hans Georg Coenen.

DM Dieses Buch beschreibt in seinem Hauptteil die geistigen Leistungen der Kommunikationspartner, auf denen dieser Erfolg beruht. Coenen works from the way a metaphor provokes understanding and even decision about behavior.


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He wants to examine how a fable text releases in the fable-addressee the necessary achievements necessary to fable-communication. For his purposes he needs to separate rhetorical fable from instructive fable. The former is ordered to a concrete case of disagreement and is meant to help decide the case.

The latter, "belehrende," fable serves to deliver some general wisdom about life. If it impacts decisions at all, it will be in the long term. The process that the fable text initiates is different in the two cases. A first part of the book then offers an overview of the genre. The second part is the crucial part of this book: analysis of the act of communication of a fable. A four-part appendix compares belehrende fables concerning the same material.

This is a book I would want to read in the midst of a good group discussing, challenging, sifting. Elizabeth Shaw. Kitzinger Antiquariat, Munich, August, ' The landmouse lives peacefully on the farm, with proportionally sized chickens, ducks, and goats. Grandmother cooks in a wood oven and gets water from the spring; they live the way their parents and grandparents lived. Grandfather smokes his pipe and reflects on life and watches to see if someone comes to visit. One day there is a noise. The citymouse shows up on a motorcycle -- and finds life here so quiet that it is eerie.

The citymouse offers to take the landmouse to the city, and she agrees. Grandfather says that she will be back soon; his grandfather once took off for the city and came back fast. The landmouse is suitably impressed with the apartment on the fifteenth floor. Everything in this town seems to be mouse-sized, and the landmouse wonders at the streets, the cars, and the many mice. Apparently there are no people here.

Here one does not have to haul wood or water. One does not need to plant, harvest, or even cook. There are ready-made meals in the freezer! Why, the landmouse opines, here one could sit all day and reflect, like grandpa. The citymouse responds that he has to work all day in the factory, and tomorrow the landmouse can come along and help. They work hard, come home tired, and eat frozen meals in front of the TV.

On the weekend they party. Life in the city is expensive. After a couple of years! It is a "Hetzjagd. He is getting ready to marry, and the apartment would not have room for three. However, to her surprise, the landmouse finds that grandmother has set up a hot dog stand for all the tourists looking for quiet in the country.

The poor landmouse likes neither city life nor modern life and wants the good old days. She gets drivers to slow down and enjoy the flowers and convinces grandma to serve not hot dogs but good old country food. The book closes with a first meal in the "Gasthaus auf dem Lande" with the citymouse and his new bride. Some good old socialist thinking is still alive in Berlin! Bryan E. As the introduction says, " Don't Let your Mind Stunt Your Growth is a collection of sixty-four stories that encourage you to examine your life by paying closer attention to how your mind creates each experience that you have" 7.

That, from my experience of the first fifteen stories or so, seems an accurate description. This seems like a sound self-help book that respects the power of narrative to suggest new ways of envisioning our lives. Many of the stories are personal experiences from the author or from things he has read. Several of the two-page chapters include fables. One finds, for example, on , the four-phase Chinese story of the farmer who loses his horse, gets a herd of wild horses, watches his son break a leg taming one of them, and then sees his son passed over for soldiering since he has a bad leg.

His response each time: "Good luck? Bad luck? Who knows? In answer to both the farmer asks what kind of people the stranger encountered where he came from. To either, with their divergent answers, he answers "I expect you'll find the same sort of people around here" Each chapterlet has a helpful title and quotation summing up what it has to offer. Who could argue against the kind of good advice you find here? First edition. Northridge, CA: Babbage Press. From the first of the eight installments, I can affirm that this is a wild book! I enjoyed the title-story, which I read through a number of interruptions in a doctor's office.

What a wild and wonderful mix of sex, food, Thailand, Chinese culture, America, family, friendship and imagination! We are of course a long way from fable here. These are very contemporary short stories. I look forward to reading them. In verzen verteld en ingeleid door Johan van Nieuwenhuizen. Illustrations from J. Second Printing. Utrecht: Prisma: Het Spectrum. I have seldom been charmed as much by a book as I am charmed by this edition. Of course, it was a pleasure to find it together at one of the bouquinistes on the Seine. Most friends have given up on finding a new fable book for or with me.

Open this book and you will be charmed immediately by the end papers. Each pair, front and back, includes ninety-six initials used in the eighty-seven fables here. Some are doubles, and not all of the fables' initials are included. I found it a game to match initial with its fable, since each initial includes a fine symbol for the particular fable. Except for one triple, the doubles match each other for their relative placement on the page.

The style of illustration is primitive and highly colorful, right from the four scenes of TMCM on the front cover. To my surprise, the edition bothers to include the letter and poem to the Dauphin, the life of Aesop, and the dedicatory poems to Madame de Montespan and the Duke of Bourgogne which open the second and third portions, respectively. The back cover finds the fables of the first portion simpler and more apt for children and those of the later portions more varied, complex, and suitable for adults.

Throughout the book, the right-hand pages have no text but an illustration, either partial or full page. The fables, given in an AI at the beginning, appear in their original order and are numbered according to their original books and fable numbers. Many illustrations include several phases from the fable.

King Lion's portions are particularly effectively portrayed in I 6 on LM on 45 gives a fine sense of the fable: one panel shows discussion and the other eating. Lesourt Chanton has particular fun with "Les Membres et l'Estomac" Typically here the characters have human bodies and dress with animal heads. Lesourt Chanton died in , as a short biography at the end points out. Adapted by Tom Lynch. Illustrated by Tom Lynch. Apparently first printing.

Twelve fables in an "landscape" book that features two-page spreads for each fable with a fabric collage for each. Even the frontispiece, title page, and dedication are or include photographs of fabric collages. The monkey who gets caught in the net the third fable has a wonderfully rearranged body! Another great illustrations shows the fox stuck in two holes of a tree fable 7. My prize goes to the last illustration, which makes the fox's shadow into a huge wolf. Each moral starts with "So remember! Leslie Ann Hayashi. Illustrated by Kathleen Wong Bishop.

Signed by Bishop. Here are ten new fables, with clear didactic lessons for today. So the first fable, "The Moray Eel and the Little Shrimp," is an effective remake of LM, with the appropriate moral, "An act of kindness, no matter how small, should never be forgotten" 7. These stories do for the sea what Hayashi and Bishop's book, "Fables from the Garden," had done on land.

Some of the best illustrations are those bringing together various animals, like "The 'Iwa's Theft" on and "The Impolite Hermit Crab" on There are notes on on the Hawaian sea creatures and birds presented in this book. Hayashi is a district court judge in Honolulu. The author and illustrator were childhood friends. Abraham Arouetty. The author's preface is quite straightforward. He wants to present his own version of already famous fables.

He wants to convey them in a manner that is enjoyable and at times humorous. He hopes readers will enjoy his "linguistic trickery. Unfortunately, I found two typos on the first two pages of reading: "Your singing needs nor more enhancing" 1 and "A Frog saw and Ox" 2. The typos seem not to stop there. Rhyme seems to drive the poetry here. Does it help the story to have this man often pray to death to come? I would have thought that the prayer arises just once in a moment of frustration. If the man is always praying to death, why does death wait until now to come?

The farmer kills the goose in GGE after just one golden egg Pat Lessie. Scratchboard illustrations by Karen Gaudette. Inscribed by Gaudette. Athol, MA: Haley's.

Nine fables in rhymed iambic tetrameter. These texts are meant to be read aloud to children. Lessie speaks warmly of family experiences with poetry read aloud. I can mostly applaud her efforts here. A number of rhymes help to clinch the fables. A few seem labored. The illustrations are a more-than-pleasant addition. They often show wit of their own. There is, e.

Again the final picture of the owl eating the last of the grasshopper on 11 is good: there is still one leg left to swallow, and there is just one note coming out of the owl's mouth. I offer two examples of Lessie's verse, The first, from the fox to the crow on 14, is, I think, less good :. The second, much stronger, is the finish to "Crab and His Mother" on As the tortoise passes him, the hare sleeps next to a tree, which is well placed in the center between 22 and 23 so that it spreads out from the book's crack.

See my comments on the paperback version published in the same year by the same publisher. The dj on this hardbound version is slightly torn. This collection includes fables from Aesop, Phaedrus, La Fontaine, Samaniego, and Hartzenbusch in a full-sized unpaginated pamphlet of 32 pages. There is one fable per page, with a text and colored illustration well integrated with each other. The "animadas" seems to indicate that the fables are lively. One of Hartzenbusch's fables here is "Aesop and the Ass," which he got from Lessing. Hartzenbusch has another strong fable on the next page.

Two snails want to have a running race, and the frog tells them that they had better see if they can walk before they concern themselves with running. The colored illustrations are simple but telling. The boy pointing to the fox hidden in his home is well done here. Also good is the fox stretching itself out to try to replicate the snake--and about to burst because of its silly effort. The large-format colored pamphlet replicates another in the collection with a small change or two.

The cover shows Selector as the publisher, rather than UA Libsa. As I wrote there, this collection includes fables from Aesop, Phaedrus, La Fontaine, Samaniego, and Hartzenbusch in a full-sized unpaginated pamphlet of 32 pages. Lotta Carswell Hume. Illustrated by Lo Koon-chiu. Fifth printing. Boston: Tuttle Publishing.

Mem Fox. Illustrated by Nicholas Wilton. First Voyager Books Edition. A pride of peacocks and a flock of swans begin to note differences between the two groups and also to suspect each other. They prepare weapons. A false alarm sets off a doomsday event in which every bird is killed. But soon two eggs hatch forth a peacock and a swan. The illustrations are very well done. My favorites for their multi-level textures are the two illustrating one of the most important page-pairs: "And so it came to pass that the peacocks gathered a great quantity of feathers which they sharpened into arrows and concealed in the shadows of their gardens.

Illustration by Juro Grau. Reinbek: Rowohlt.

Contour Des Yeux Efficace 2012 13

Edited by Rochelle Larkin. Lorna Tomei. Rochelle Larkin is still acknowledged as editor, but Lorna Tomei, acknowledged there as illustrator, is not mentioned here. The cover illustration, still of TH, has changed to one signed by a "Virginia Lucia. This seems to me to be an ultimate "formula book. The formula is repeated times! The first story inverts the two pages.

The art, produced in a quantity unusual in contemporary books, seems to me inferior. The grasshopper saw many grasshopper wings strewn about the entrance to a fox's hole The ubiquity of morals gives an unusual contemporary chance to test them. I find the following very good: 6, 20, 22, 28, 32, , , , and The following seem curious: 14, 46, 96, , and Adapted by Mary Boudart. Illustrated by Tammie Lyon.

The woodcutter here is perhaps a beaver, but he still uses an axe. A water sprite makes the usual triple retrieval. After selling the two precious axes, the woodcutter can give his wife and two children all the things they have dreamed of. There is no second phase in this telling; that is, no envious comrade tries to outwit the water sprite. A page at the end stops to reflect on honesty in the light of the story. Gordon Hansen.

Bloomington, IN: Xlibris Corporation. The back cover says of these fifteen stories: "Each fable has a source and a destination, to fly a successful course in life--whether it be from defeat to triumph, from despair to hope, or from here to Ever-after. I read the first three stories. It is subtitled "Flying from condemnation to exoneration. It is a golf story in which the author takes the place in a foursome of a discredited deceased person. He learns the truth along the course. The climax is that Casey, who had been discredited and will be exonerated, got the hole-in-one he had always hoped for on his last swing: "Flying from ignominy to immortality.

By Karen Cartier. Here is a helpful book. I look forward to working with it to find those fable stamps of which I am not yet aware. In several chapters, this book lists countries alphabetically and then the stamps done in each country that bear on the subject of the chapter. The four colored pages illustrating various stamps and inserted between 64 and 65 offer a special treat. Cartier stops along the way to tell a number of the stories associated with stamps, including several fables, like OF 19 , "The Stag and the Lion" 24 , and "The Swallow and the Serpent" Toulouse: Milan.

Here is a fascinating find. I thought that I had found a French original of an English translation. In fact, what I have found here is the original French edition of a book which I already have in its French re-edition. I will recall below my remarks on that edition, but let me first note the elements that are different here in the earlier edition.

The cover now presents the wolf against a white background rather than in an all-dark close-up of his face. The publisher is "Milan" rather than "Milan Jeunesse. The back cover and the ISBN are the same. As I wrote back then, this is a large-format children's book with lively colored illustrations. Here are twenty-seven of La Fontaine's fables in their original form, accompanied by dramatic painted illustrations. The animal paintings here are strong on emotion, beginning with the scowling lion next to the "Sommaire" T of C on 6.

The illustrations are generally two-page spreads. Some fables are spread out onto two pages, but the two illustrations are distinct, as in GGE on 18 and 19 or FC on 20 and Despite good efforts, I cannot find the fly -- if he exists -- in the illustration for "Le Coche et la Mouche" on Did the illustrator want me to look so long, only to be unable to find the minuscule flea?

The sons' faces are impressive, I believe, in "Le Laboureur et ses Enfants" on The wolf and the lamb are wonderfully contrasted in size and attitude on The sweep of the scene in "Le Petit Poisson et le Pecheur" is grandiose The chagrined fox leaving the stork's home on 53 is a classic, as is the happy shoemaker on 55, especially in contrast with the pale banker in the background. The good "scowling lion" illustration is repeated on 60 for "Les Animaux malades de la peste. Illustrations de Adolf Born. Printed in the Czech Republic.

Here is a new favorite of mine! It is from an original edition done in in Prague by Brio. What a great find in my first attempt to find books in Casablanca! I had not and have not seen this book in Paris. It abounds in lively and delightful illustration, including all sorts of little extras, like critters in the margins of the opening T of C. These days one seldom finds La Fontaine so extensively illustrated.

Each book gets a full-page illustration at its beginning. Then there are smaller and larger illustrations scattered through the book, sometimes starting in the right page's margin and finishing only after one turns the page. A good example occurs from 91 to 92, as we see the eagle, cat, and pig mothers clearly on 91, and then their children more clearly on The satyr dealing with the passer-by on suddenly has his leg turn into that of the horse administering a kick to the wolf on There are also many full-page and even double-page illustrations within the books.

The spread on brings together nicely the preceding fable, since the fly is on a beautiful woman's face, and the following fable of the Seigneur hunting violently in the garden. This book, almost single-handedly, got me into trouble for baggage weight at the Casablanca airport!

I ended up carrying it by hand in a shopping-bag. Here is the earlier large paperback book that is behind the smaller hardbound volume of the same title from the same publisher in I can now confirm factually what was only an impression earlier. These are new illustrations, different from those Lefebvre used in his two volumes Jean de La Fontaine Fables.

Let me modify and supplement my comments on the volume. There are fifty-one fables on pages, as the closing AI shows. There is a curious set of markings below the picture on The preoccupation with presenting two eyes for every creature seems to be gone from Lefebvre's art. The new identifying mark is the presence of a kind of colored confetti around an animal that is experiencing something strong, like having been kicked in the head! Lefebvre has a wonderful sense of color. Walter Thornbury, translator. Joslyn T. Pine, editor. Printed in USA.

This surprise find will be worth considering the next time I teach fables. My congratulations to Dover for making it so inexpensive! It is a bare-bones edition. Other than two pages of introduction, there is nothing here but the texts and a T of C. Illustrations by Rose Ghajar Bakhtiar.

Twenty-five stories on pages. Each story has a full-page black-and-white illustration, and there are a few additional abstract designs inserted along the way. There is no overarching narrative; all are independent stories. The book has unusually large print and large top margins between the headers and the top of the text. Some features are slightly different from those of other versions of Kalila and Dimnah. In "The Clever Rabbit," the same rabbit has the original idea of rationing victims for the lion and then of outwitting him He tells the lion that his brother, the intended victim, was captured by the "other lion.

The heron supposedly transporting fish to a new lake carries them in a watermelon rind La Fontaine's fable of the solitary man and the bear is also here, complete with the rock employed by the foolish bear to try to get rid of bothersome flies Several stories here are new to me, like "The Useful Lesson" 9. In "The Friendship of the Partridge and the Falcon" 55 , the unnatural friendship finally yields to the law of predator and prey. In "The Impatient Pigeon" , stored grain dries out and takes up less space in the pigeon-couple's storeroom.

The male accuses the female of stealing from their grain and drives her from the nest. When the wet season returns, the grain expands and he knows too late that he has been wrong. In "The Avenging Birds" , a victim dervish calls on the sparrows to avenge his death at the hands of thieves. A year later, the birds dung on the picnicking thieves while people of the victim's town happen to picnic nearby. The result is that the thieves, making light of the respected victim, are overheard and turned over to the police. In "The Old Woman's Cat" , a starving old cat believes that it is best to sneak into the sultan's kitchen and eat fine food.

It learns at the cost of an injury that that kind of crime does not pay! In "The Scorpion's Sting" , a scorpion riding across water on his friend the turtle's back prepares to sting him, with the explanation that it is his nature to sting. The turtle rolls him off into the water to let him drown.

There are many typos in this book, like "when it is customary to remained" on This edition of Kalila and Dimna is notable for its colorful raised cover, with its dramatic scene of the lion attacking the bull while two jackals look on. There are no internal illustrations. There is a T of C at the back, and there seem to be footnotes along the way. The back cover presents a smaller, non-raised mirror image of the front cover's picture of struggle.

Inkston Library: Selected Poems of Li Bai 李白诗选 - translated by Xu Yuan Chong 许渊冲

Vikar Bela translated La Fontaine into Hungarian in The highly dramatic black-and-white illustrations are strong and frequent. The "Simonides" illustration for I 14 gets the point across swiftly and dramatically. MSA on 61 is rendered with four scenes of dissatisfaction. Typical of the overly inked cartoon style of Haranghy is "The Ass and the Lapdog" on direct and dramatic but slightly overdone? I may sometime want to use "The Bragging Mule" on I would love to use "The Horse and the Mule" on The "cheese house" on is ingenious. Is there a more original publication of Haranghy's La Fontaine, I wonder, perhaps with even more distinct illustrations?

Edward Wheatley. First edition, first printing. Gainesville: University Press of Florida. It is hard to believe that I have had this book eleven years! Even now I can give only an overview. Wheatley challenges readers early: "we must be able to imagine an era during which fable was taken seriously as a vehicle for social, political, and religious communication" 3. Wheatley's first three chapters give a broad "overview of the attitudes and practices surrounding the reception and appropriation of the verse Romulus collection as a Latin curricular text" 4.

One great caution: ""All-encompassing formal definitions tell us more about our own desires to master fable than medieval reception of the literary form" 5. He considers fable not as a literary genre but as a mode of discourse. Another caution: "To believe that a fable is best interpreted in one particular way suggests an entrenched dogmatism which the later Middle Ages did not espouse" 6.

The second half of the book brings the material from the first half to bear upon the "translated" fables written by three medieval British vernacular writers: Chaucer, Lydgate, and Henryson. The first appendix gives selected fables in their versions by the three authors. Further appendices give Latin medieval fable texts. Illustrations by Walker Korby. Sixteen stories are told on 85 pages. Nine of the sixteen stories are fables. New to me and good is "The Jealous Courtiers" The artist Grupello is asked by the Elector in Dusseldorf to make a statue of him.

He does so and it pleases the elector very much. His courtiers are, however, jealous and make all sorts of criticisms and suggestions. Grupello asks for time to adjust and is heard pounding away for days. When he unveils, each critic declares the statue improved in the regard that he had raised. Then Grupello reveals that he changed nothing and that he has been "hammering at the reputation of the Elector's courtiers" The illustrations are simple designs, one at the end of each story.

Translated by Norman R. Illustrated by David Schorr. Introduction by John Hollander.

chung sik kang selected poems unabridged Manual

Apparent first printing. Shapiro and Schorr are at it again! This marks their third book together on La Fontaine. It is, I believe, another triumph. The translations are crisp. I enjoyed, for example, "The Charlatan" I am surprised at how copiously David Schorr illustrates this volume. I noticed only perhaps four fables that are not illustrated. Schorr discusses well in his foreword the possibilities for the use of visual space in a bilingual translation. While he exploits again here the polarity of a fable's antagonists, he also plays with other design possibilities, involving among other things the outer margins and the gutter.

I enjoy particularly SS , "The Drunkard and His Wife" , the before and after views of the weasel , the child sleeping on the rim of the well 90 , and SW The latter repeats a motif from Schorr's earlier work, perhaps in The Fabulists French. I believe that there are only about forty La Fontaine fables left for these two to work on. This book includes an audio CD featuring twenty-six of the fables in English. They are rendered in very lively fashion.

Formerly in the Library of Congress. Here is the hardbound version of a book I had found only in paperback earlier. I will include my comments from there. Matthew Powell, OP. With illustrations by Ade Bethune. This large-format paperback workbook offers eighteen scripts for readers theater performance. Powell's introduction estimates that each takes between two and fifteen minutes. The introduction talks effectively about the place of story in religious ritual. It also gives a good sense of readers theater and its potential gifts to a group. The texts themselves include two fables based on the Thomas James edition of Each story begins with a scriptural quotation.

After that point, Powell lets the story speak for itself. The former version has a good question put by the outgoing townsman: "Is that donkey your own? The fables, like a few other stories, are not illustrated here. The illustrated stories have simple religious ornamentation. There are detailed plans here for ten sewn renditions of La Fontaine's fables and for a portrait of La Fontaine himself.

Is "Point de croix" cross-stitch? Each little section of the book offers the full La Fontaine text, a picture of the completed stitchwork, the plan for doing the stitching, and one or two excerpts or symbols of the whole stitching. The last pages include a sampler of letters, color codes, and pictures of the seven other books in this series. They deal with fairy tales, legends, myths, and visual elements like letters and florets. Author: Jo Ellen Moore. Illustrator: Don Robinson. Simple illustrations accompany the story text. The best of the illustrations is a view of monkey lying on crocodile's back in mid-river In GGE, the farmer and his wife, after killing the goose, keep buying geese in the hopes of finding another gold-layer Tortoise hosts eagle often, but eagle never invites tortoise.

Tortoise hides himself in a gourd full of fruit which he gives to eagle. He declares himself in eagle's home. When eagle gets angry, tortoise demands to be taken home and seizes on eagle's leg. He holds on until eagle takes him home. The grasshopper in GA never goes to the ants' home; he comes to a realization on his own about saving from your abundance for later need A young Native American boy meets some diminutive people who offer to trade with him for their diminutive bow and arrows.

He refuses and later regrets that he judged on size. White crow paints yellow peacock the colors we now associate with the peacock. Peacock is so proud that he wants no competition from crow. He manages to knock over all the paints except black. SW is unfortunately told in the poorer version. In the final tale, the rabbit talks the tiger into believing that a big wind is coming and into demanding that he, tiger, be tied up first for security against the wind Mike Papantonio. Foreword by Robert F. Kennedy, Jr..

This is a motivational book for lawyers. Papantonio introduces it as a call back to the basics and understands Aesop to have made this kind of call with his fables. By basics Papantonio has in mind "quality living," the kind of living that involves fundamental virtues like integrity, humility, kindness, and unselfishness. His philosophy placed a high value on serving and giving to others.

He believed in the wisdom of honesty about our importance in the world. Moderation in all things was an underlying theme to Aesop's formula for maintaining a joyful spirit. Each chapter begins with a fable. Chapters deal with issues like civility, perspective, gratitude, and ambition. The chapter on joy uses fables more extensively than other chapters. It starts with the fable of the ass who admired the song of grasshoppers and so followed their advice and ate only dew until he died of malnourishment. We like the ass tend to look in the wrong places for finding the quality of life that will support our quality of spirit.

Papantonio makes effective use of Aesop's story of the rich man who got used to living with the nauseating smell of the tanner next door; so young lawyers get used to dulling their spirits in the vain hope of finding a joyful period years later. Wise lawyers build their practice "from the inside out," that is, to fit with their life-style and with what brings them joy. The fable about Mercury's hearing that his own statue was virtually worthless helps Papantonio to make the point that we need to get realistic perspective on our own importance.

The fable of the miser says to Papantonio that resources lead to joy only when they are at the service of something beyond ourselves. Adapted by Margery Cuyler. Illustrated by Steve Haskamp. This book is an introduction to road signs and to whatever kinds of signs fans and demonstrators are prone to brandish. The former are particularly attractive on these large landscape-formatted pages, since they are done with shiny pigments that make them look like stickers.

There is also some groan-worthy humor in some of the latter signs. At a key point in the race, the hare gets into a construction area. At another, the tortoise is just leaving a rest stop as the hare is arriving at it. An ice cream cone at Ben and Harey's immediately precedes the hare's nap.

When they finally enter town, they find "Hare-Rod's Store" along the way. The moral is "Hard work pays off! Selected and edited with an introduction by Sir George Douglas. First published by W. Scott in London about This is a standard presentation of a country's folktales. It includes, as one of seven categories, "Stories of Animals" Several of these animal stories happen to be known fables or fable-types.

The story morphs at that point to become another instance of "The Nun's Priest's Tale. One has to do with throwing good food out of the back of the farmer's wagon along the trail. The other has to do with fooling an aggressor by asking him to read what is on one's hoof. Here the fox has his brains smashed out by the unwitting horse. Heather Forest. Illustrated by Susan Graber. Here is a paperback version of a book first published in hardbound in There is a good "Author's Note" on the variety of versions of this story, "a popular European folktale that has been told and retold for centuries.

In the Swedish version, a tramp teaches a stingy old woman generosity by using a nail to start a sumptuous broth. In Russia, an axe serves as the soup starter. This version "takes place in a village located anywhere that people learn about the pleasures of sharing. Two travelers seeking food receive a cold welcome of doors closed in their faces. Everywhere they hear "I don't care. I won't share. There is no food! They fill it with water and heat it. Then, as they put a stone into the water, they claim that this soup has a magical ingredient.

With a repeated request "Bring what you've got," they add one ingredient after another, at first in very small quantities. Everyone in town ends up bringing one small thing. The magical ingredient turns out to be sharing. Put it in the pot. Every bit counts, from the largest to the least.

Together we can celebrate a Stone Soup feast! Editor: Anant Pai; Scriptwriters: G. August 4, Retrieved September 6, Business Week. Retrieved March 9, Biography portal Internet portal United States portal. Contents [ hide ]. South Pyongan. North Hwanghae. South Hwanghae. South Hamgyong. North Hamgyong. North Pyongan. South Korea. Yellow Sea Korea West Sea. Korea Bay. Sea of Japan Korea East Sea. Geography portal Asia portal Korea portal. Retrieved United Nations. Foreign and Commonwealth Office , UK. The World Factbook.

Note: Per capita values were obtained by dividing the GDP official exchange rate data by the Population data. New York Times. The New York Times Company. The rotten Stalinist dictatorship faces the prospect of an implosion. Since the collapse of the Soviet Union, which deprived North Korea of vital economic support, the regime has consistently attempted to secure from the US a non-aggression pact, recognition of its sovereignty, and economic assistance.

Edition — October—November Socialist Alternative website in Australia. There is no denying that the regime he presides over is a nasty Stalinist dictatorship that brutally oppresses its own population. The Times of India. Washington Post. Freedom House. North Korea is a totalitarian dictatorship and one of the most restrictive countries in the world. Economist Intelligence Unit.

The Economist.

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So does Stalinist North Korea. Human Rights Watch. Korean Friendship Association. Cordesman The Korean Military Balance. It has extraordinarily large anti-aircraft holdings, nearly twice the artillery strength of the Republic of Korea South Korea , as well as a major advantage in self-propelled artillery and a massive lead in multiple rocket launchers. Asian Shravan. Digital Jikji. Truce Tent and Fighting Front.

CMH Pub Stewart, ed. American Military History, Volume 2. Selling the Korean War: propaganda, politics, and public opinion in the United States, — Oxford University Press US. ISBN DMZ, a story of the Panmunjom axe murder. Hollym International Corp. The U. Transaction Publishers. The Korean peace process and the four powers. Ashgate Publishing, Ltd. Associated Press. Foreign Policy. Korea to toughen rules of engagement against N. Retrieved 19 December The Korean History Project. Library of Congress. Country Studies. Kihl, Hong Nack Kim. Sharpe, Inc. Pp Scalapino, Chong-Sik Lee. The Society.

University of California Press, A history of the Korean reunification movement: its issues and prospects. Indeed, it is worse today than any of those countries were at their worse. The thought of Marx, Lenin, Mao and Stalin may now be something for the historians. But North Korean thought has survived the passing of communism because what they actually believe has little connection to it.

Wall Street Journal. Retrieved 20 December Marshall Cavendish. The Wall Street Journal Asia. The Houston Chronicle. The Washington Post. BBC News. Yonhap News. Human Rights Concerns. Amnesty International. Retrieved April 20, April 12, Retrieved April 10, The Daily NK. May 4, May 3, The Guardian. Christian Solidarity Worldwide, June 20, Parliament of Canada.


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Retrieved 24 October Praeger, Basic Books, Lee Soon Ok. Quinones, Dr C. Globe Pequot, Domestic dog Temporal range: 0. Riders and dogs. Louvre Museum, Paris. Dogs portal. Retrieved 6 January PloS ONE 6 7 : e Journal of Archaeological Science 38 9 New York: Scribner. New York, N. Y: Howell Book House. April Retrieved 18 June In search of the Indo-Europeans: language, archaeology and myth.

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